Unsystematic avant-garde in the art of the period of (new) stagnation: the case of the artwork of Benigna Kasparavičiūtė

Straipsnyje aptariamas specifinis Vilniaus šiuolaikinio meno reiškinys, kurį, priklausomai nuo konteksto, galima vadinti keliais vardais - neotradicionalizmu, kritiniu regionalizmu, institucine kritika, nesisteminiu avangardu. Šis reiškinys traktuojamas kaip Vilniaus šiuolaikinio meno sistemos (naujosios) stagnacijos, kurios pradžia datuojama maždaug nuo 2005-2006 m., sudėtinė dalis - iš dalies jos išdava, iš dalies - reakcija. Šių dviejų prasminių polių rėmuose aptariamas „revoliucinis" mūsų šiuolaikinio meno periodas maždaug tarp 1987-1998 m. Jo fone išryškinama (daugiausiai Vilniaus) šiuolaikinio meno karta, debiutavusi vadinamuoju „porevoliuciniu" laikotarpiu (maždaug 1998-2005), ypač akcentuojant tuos ir tas jos atstoves, kuriuos ir kurias sąlygiškai galėtume pavadinti „neotradicionalizmo", „kritinio regionalizmo" ar „institucinės kritikos" atstovais. Pastarųjų fone atskirai aptariama kritinio regionalizmo atstovės - Benignos Kasparavičiūtės - meninė veikla.Article discusses a specific phenomenon of the Contemporary Art of Vilnius, which, depending on the context, can be dubbed several names - neo-traditionalism, critical regionalism, institutional critique, unsystematic avant-garde. This phenomenon is interpreted as a component - partly a sequel, partly - a reaction to the (new) stagnation of the Contemporary Art system of Vilnius the beginning of which dates from about 2005- 2006. Within the framework of these two semantic poles, the "revolutionary" period of our contemporary art from approximately 1987 to 1998 is discussed. Against its background, the modern art generation (mostly of Vilnius) that debuted in a so-called "post-revolutionary" period (about 1998-2005) is highlighted, with particular emphasis on those who may be relatively described as representatives of "neo-traditionalism", "critical regionalism" or "institutional critique". Against the background of the latter, the artistic activities of a representative of critical regionalism - Benigna Kasparavičiūtė are separately discussed. Many aspects of the artwork of Kasparavičiūtė are associated with both an ethical or idealistic position of withdrawal, non-participation in a broader sense, beyond mere formal, stylistic problems. This position of "critical regionalism" to some extent is chronologically and conceptually close to the phenomenon, for example, in Russian it is called "non-systemic" avant-garde - attempting to break free from administrative control (for example, from a forced race of "CV filling")